Future Cinema

Course Site for Future Cinema 1 (and sometimes Future Cinema 2: Applied Theory) at York University, Canada

Week 6 Questions?

Hi All,

I’m afraid I’m not familiar with wordpress, but I’m making the jump regardless and starting a thread for our Week 6 Questions. I’ll post mine, then I suppose others can be posted as comments? Is that a plan?

1. Thinking of the early vision of the internet proposed by Bush, the evident parallels to database structure/narrative, and the task of generating meaning from generally “unstructured” totalities, where do we land in regards to Manovich’s argument that database structures are in “combative opposition” to narrative? (Kinder 3)  What devices of interactive storytelling are necessary, or is it desirable to instead furnish the participant with material, to instead indulge an originary creative impulse?

2. To return our discussion to a recurring theme, and to follow Bush’s speculation on technological evolution, where do we locate the sorts of interactive works described this week? Is interactivity a genre? A characteristic? Where is it headed?

3. Kinder actually poses a great question on page 6:  “When you encounter a radically new kind of story, are you capable of making these radical changes in your schemata, or only minor adjustments?”

I’d like to put it forward for our consideration. First, lets unpack exactly what’s being asked, and then lets work it out either through our own lens, or through their approach to “performative interactivity”.

4.  Borges’  “Library of Babel” — https://urbigenous.net/library/library_of_babel.html.

If we read this parable (or are familiar with it already), what can we make of a correlation between the author-viewers of cybertextual works and Borges’ “librarians”?

Thinking of the early vision of the internet proposed by Bush, the evident parallels to database structure/narrative, and the task of generating meaning from generally “unstructured” totalities, where do we land in regards to Manovich’s argument that database structures are in “combative opposition” to narrative? (Kinder 3)  What devices of interactive storytelling are necessary, or is it desirable to instead furnish the participant with material, to instead indulge an originary creative impulse?
To return our discussion to a recurring theme, and to follow Bush’s speculation on technological evolution, where do we locate the sorts of interactive works described this week? Is interactivity a genre? A characteristic? Is it the medium of the future? Where is it headed?
Kinder actually poses a great question on page 6:  “When you encounter a radically new kind of story, are you capable of making these radical changes in your schemata, or only minor adjustments?”
I’d like to put it forward for our consideration. First, lets unpack exactly what’s being asked, and then lets work it out either through our own lens, or through their approach to “performative interactivity”.
Not a question, but an artifact to consider, Borges’  “Library of Babel” — https://urbigenous.net/library/library_of_babel.html. If we read (or are familiar with it already) what can we make of a correlation between the creator/viewer of interactive database works and Borges’ “librarian”?

Wed, October 9 2019 » Future Cinema

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